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Catrine de Neuville Comtesse d 'Armagnacq, Louis I. Oil painting on canvas.
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Full figure to horse. Clothed in green damastskirt and red, gold embroidered, hip long jacket. White lace scarf with violet bow. White Sharp. White horse with violet, gold embroidered cover. Snow and rein the hands. In the fund the palace Chateau de Fontainbleau (before the redevelopment). On the back of the canvas: Pour Monseigr Le Duc Daumont Gilded, carved frame with acanthus leaf. A silvered mussel on either side. The width of the frame list 113 mm. New wedged span frame. Double cloth.
Catrine de Neuville Comtesse d 'Armagnacq, Louis I.
Probably painted by Joseph Parrocel (1646-1704) active in paris from 1675. Compare to the painting La Comtesse de Soisson’s Riding with a View of the Chateau de Vincennes by Parrocel (previously annexed to Jean Baptiste Martin), Rafael Valls Gallery, London. In such a case, dating should reasonably be around 1675-82, if Nils Bielke received them as a gift during his time in paris 1679-82
Associated letter dated 26 August 1938 from conservator Sven Dalén regarding the care of the painting.
Title: Catrine de Neuville Comtesse d 'Armagnacq, Louis I. Oil painting on canvas.
Description:
Full figure to horse.
Clothed in green damastskirt and red, gold embroidered, hip long jacket.
White lace scarf with violet bow.
White Sharp.
White horse with violet, gold embroidered cover.
Snow and rein the hands.
In the fund the palace Chateau de Fontainbleau (before the redevelopment).
On the back of the canvas: Pour Monseigr Le Duc Daumont Gilded, carved frame with acanthus leaf.
A silvered mussel on either side.
The width of the frame list 113 mm.
New wedged span frame.
Double cloth.
Catrine de Neuville Comtesse d 'Armagnacq, Louis I.
Probably painted by Joseph Parrocel (1646-1704) active in paris from 1675.
Compare to the painting La Comtesse de Soisson’s Riding with a View of the Chateau de Vincennes by Parrocel (previously annexed to Jean Baptiste Martin), Rafael Valls Gallery, London.
In such a case, dating should reasonably be around 1675-82, if Nils Bielke received them as a gift during his time in paris 1679-82
Associated letter dated 26 August 1938 from conservator Sven Dalén regarding the care of the painting.
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